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CATALOGUE  OF  PAINTINGS 

BY  IGNACIO  ZULOAGA 

EXHIBITED  BY 

THE  HISPANIC  SOCIETY  OF  AMERICA 

MARCH  21  TO  APRIL  11    1909 


WITH  INTRODUCTION  BY 
CHRISTIAN  BRINTON 


THE  HISPANIC  SOCIETY  OF  AMERICA 
NEW  YORK  1909 


CATALOGUE  OF  PAINTINGS 
BY  IGNACIO  ZULOAGA 


Digitized  by  the  Internet  Arciiive 
in  2007  yjnJtLJunding  from 
IVIicrerfoff 


littp://www.archive.org/details/catalogueofpaintOOIiispricli 


CATALOGUE  OF  PAINTINGS 
BY  IGNACIO  ZULOAGA 


EXHIBITED  BY 


THE  HISPANIC  SOCIETY  OF  AMERICA 


MARCH  21  TO  APRIL  11.  1909 


WITH  INTRODUCTION  BY 
CHRISTIAN  BRINTON 


THE  HISPANIC  SOCIETY  OF  AMERICA 
NEW  YORK  1909 


Copyright,  1909,  by 

The  Hispanic  Society 

OF  America 


IGNACIO  ZULOAGA 

BY 

CHRISTIAN  BRINTON 


182830 


IGNACIO  ZULOAGA 


NOTHING  could  be  more  immature  than  the 
contention  that  art  sliould  aim  to  be  cosmo- 
pohtan  in  its  expression.  As  a  matter  of  fact  there 
never  was  a  time  when  indiscriminate  international- 
ism has  not  produced  inferior  results,  or,  conversely, 
when  a  wholesome  nationalism  has  failed  to  give 
artistic  achievement  redoubled  strength  and  signifi- 
cance. \^The  most  salutary  influence  in  contemporary 
art  is  precisely  the  realization  that  his  innate  and 
fundamental  racial  endowment  is  the  artist's  richest 
possession, — that  it  is,  in  short,  his  very  reason  for 
being.  ) Fortunately  for  painting  in  particular,  those 
conventions  which  have  long  exerted  a  dominant 
sway  over  the  destinies  of  art  are  rapidly  losing  their 
ascendancy,  and  there  are  hence  springing  up  on  all 
sides  and  in  every  land  groups  of  painters  who  now 
depict  whateyen^they  see_fit.  and  in  whatever  manner 
their  individual  predilections  may  dictate.     A  certain 

171 


uniformity  of  technical  standard  must,  of  course,  be 
maintained,  but  beyond  that  there  should  be,  and 
happily  there  are,  at  last,  no  rules  or  restrictions. 
Europe  to-day  offers  the  invigorating  spectacle  of  an 
almost  complete  decentralization  in  manners  esthetic. 
Not  only  are  the  larger  countries  in  a  sense  inde- 
pendent of  each  other,  but  each  state  is  in  turn 
divided  into  districts  where  the  painters  of  a  given 
locality  reflect  with  abundant  zest  the  special  charac- 
teristics of  their  surroundings.  Throughout  Ger- 
many, Italy,  Russia,  Belgium,  Scotland,  Scandinavia, 
and,  to  a  broader  extent,  France  itself,  there  are  at 
present  bands  of  fearless  spirits  who  are  daily  enrich- 
ing the  great  treasury  of  art  with  their  sound  and 
stimulating  local  as  well  as  national  flavor.  Their 
cohesive  power  is  in  most  cases  strong;  they  work 
together  and  usually  under  the  direct  inspiration  of 
some  sturdy  and  fecund  soul  who  has  sprung  from 
humble  soil  and  consecrated  to  art  his  singleness  of 
aim  and  personal  intensity  of  vision.  Modern  Ger- 
many can  proudly  point  to  Menzel  and  Bocklin,  that 
diverse  and  protean  pair  who  crystallized,  each  after 
his  own  fashion,  a  special  segment  of  the  Teutonic 
esthetic  consciousness.  In  Italy  it  was  Giovanni 
Segantini  who  gave  his  life  even,  for  a  similar  cause, 
and  in  Ilya  Repin  Russia  found  her  long-looked- for 

1^1 


Portraits  de  la  famille  d'un  toreador  gitane 


Mademoiselle  Lucienne  Breval  dans  Carmen 


champion  of  the  native  genius.  In  Belgium  it  was 
Constantin  Meunier  who  rose  from  that  black  and 
stifling  industrial  arena  and  modeled  his  heroic 
miners  and  puddlers,  while  Scotland  boasts  her  Glas- 
gow School,  and  Norway  her  Kroyer  and  Weren- 
skj01d.  It  is  such  men  as  these  who  are  the  veritable 
makers  of  modern  art,  and  it  is  due  to  their  invincible 
nationalism  as  much  as  to  any  other  factor  that  their 
work  owes  its  singular  appeal.  There  is  no  thought 
here  of  minimizing  the  part  France  has  played  in  the 
evolution  of  current  esthetic  development.  It  must 
be  acknowledged  at  the  outset  that  her  mission  has 
been  the  most  important  of  all,  that  she  has  literally 
animated  the  world  with  fresh  and  illuminating 
ideas.  In  large  measure  she  has  been  the  inspiration 
of  every  nation  in  turn,  and  this  in  itself  is  perhaps 
greater  than  anything  else  she  has  accomplished. 
Men  like  Courbet  and  Manet  were  universal  art 
forces,  and  yet  even  they,  in  the  early  stages  of  their 
progress,  were  glad  to  look  elsewhere,  and,  strangely 
enough,  it  was  to  an  old  and  in  this  respect  new  land 
that  they  turned  for  initial  guidance. 

Partly  because  of  her  geographical  isolation,  and 
partly  also  for  reasons  economic  and  social,  Spain 
was  the  last  European  country  to  feel  the  thrill  of 
latter-day  artistic  rejuvenation.    The  conquest  of  the 


Pyrenees  and  the  growing  stability  of  the  govern- 
ment have,  however,  within  a  few  brief  decades 
wrought  vast  changes  throughout  the  Peninsula. 
The  Spain  of  to-day  is  not,  as  many  fancy,  a  nation 
with  a  past  but  no  future.  Contrary  to  ignorant  opin- 
ion the  country  is  vigorous,  progressive,  and  is  making 
rapid  strides  politically,  commercially,  and  artistically. 
Resplendent  dreams  of  world-conquest  have  been  re- 
nounced, the  Church  is  preferring  to  earlier  secular 
activities  higher  spiritual  aims,  and  internal  dissension 
has  been  almost  entirely  eradicated.  Everywhere 
across  the  face  of  this  luminous  land  are  signs  of  re- 
generation, and  in  almost  every  form  of  activity  is  the 
latent  vitality  of  the  race  asserting  itself.  The  Span- 
iard himself  is  changing.  He  has  in  some  measure 
ceased  to  be  fatalistic,  and  picturesque  Carlist  and 
lethargic  gipsy  are  alike  making  way  for  the  ener- 
.getic  man  of  affairs.  High  statesmanship  has  been 
shown  in  the  treatment  of  the  currency  and  the 
finances.  Economic  reform  accompanies  educational 
advance.  Under  Alfonso  XHI  the  never  destroyed 
vitality  of  the  Spanish  people  is  asserting  itself, 
and  Spain  is  to-day  looking  toward  the  future  with 
mingled  hope  and  confidence.  **Resucita,"  the  clos- 
ing note  of  Galdos's  stirring  drama  "Electra,"  is 
clearly  the  watchword  of  modern  Spain,  and  in  a 


Paulette  en  danseuse 


OF   THi 

UNIVERSITY 


Pepillo,  le  matador 


sense  it  epitomizes  the  situation  as  no  other  expres- 
sion can.  This  coming  to  fresh  hfe,  this  resurrection, 
rebirth,  or  whatever  it  may  fittingly  be  termed,  dates 
of  course  from  the  Revolution  of  '68,  ''La  Gloriosa," 
as  it  is  fondly  called,  which  was  logically  followed  by 
the  adoption  of  the  constitution  in  'y6.  Since  these 
two  recent  and  memorable  events,  to  which  may  be 
added  a  third— that  of  the  Spanish-American  war- 
Spain  has  substantially  become  another  nation.  She 
is  responding  with  alacrity  to  the  resistless  call  of 
progress  and  advancement,  and  seems,  indeed,  bent 
upon  compensating  for  any  dignified  somnolence  in 
the  past  by  taking  firm  hold  upon  the  issues  of  the 
present.  She  is  at  last  learning  to  look  within,  not 
without,  and  that  spirit  of  enterprise  which  once  led 
her  so  ruthlessly  to  subjugate  other  countries  is  now 
guiding  her  toward  the  saner  path  of  self -conquest. 

It  is  to  her  art  as  well  as  to  her  literature  that 
one  must  turn  in  order  to  discover  the  image  of  this 
New  Spain,  so  long  sought  across  hostile  frontier  and 
distant  sea,  only  to  be  found  at  last  among  the  bare 
sierras,  the  purple  vineyards,  and  the  stern,  proud 
hearts  of  the  home  country.  It  is  the  painter  as  well 
as  the  novelist  or  dramatist  who  well  reflects  the 
spirit  of  the  hour  and  the  vivid  intensity  of  contem- 
porary life  and  scene.     The  tradition  of  Spanish  art 


at  its  best  has  ever  been  a  tradition  of  fearless  and 
masterful  graphic  realism.  From  first  to  last  this  art 
has  remained  objective  and  positive.  It  was  for  long 
periods  ardently  Christian,  but  was  never  enslaved 
by  the  sensuous  afterglow  of  Renaissance  paganism, 
nor  has  it  since  become  sentimental  or  fanciful. 
Painters  of  other  lands  have  rejoiced  in  the  widest 
latitude;  the  truly  Spanish  artist  has  from  the  be- 
ginning known  but  two  sources  of  inspiration — 
Church  and  Country.  Imagination  has  thus  played 
little  or  no  part  in  the  triumphs  of  these  great  chron- 
iclers whose  canvases  give  such  a  complete  picture  of 
society  no  matter  what  the  epoch  may  be.  One  after 
another  each  of  them  has  recorded  with  unflinching 
accuracy  the  facts  of  that  life  which  lay  ever  near  at 
hand.  El  Greco,  Zurbaran,  Velazquez,  and  Goya  are 
the  glorious  names  in  this  conquest  of  truth,  tinged  as 
it  has  been  by  the  severity  of  less  tolerant  times,  the 
aristocratic  dignity  of  the  Court,  or  the  restless  tur- 
moil of  revolutionary  days.  No  Spanish  historian 
has  been  quite  able  to  convey  that  sense  of  verity 
which  characterizes  the  reticent,  dark-robed  nobles 
of  El  Greco,  the  mystic  exaltation  of  Zurbaran' s 
monks,  the  magic  unity  of  Velazquez's  vision,  or  the 
sardonic  levity  of  Goya's  impulsive  satires  upon  a 
decadent  monarchy.    There  are  two  notes  which  this 

.1:203 


Cindida  riant 


Mercedes 


Of  THE 


art  always  sounds,  the  note  of  reality  and  the  note  of 
fluent  pictorial  passion,  and  that  Spanish  painting 
which  does  not  emphasize  these  twin  qualities  is  un- 
worthy and  ignoble. 

From  the  passing  of  Goya  to  the  present  time 
Spanish  art  suffered  a  humiliating  eclipse.  It  echoed 
in  anemic  half-hearted  fashion  the  classic  and 
romantic  pretensions  of  her  neighbor  across  the 
Pyrenees,  but  nowhere  revealed  healthy,  conscious 
vitality.  It  required  a  great  national  quickening 
along  all  lines  of  activity  before  painting  could 
regain  her  rightful  position,  and  it  was  this  move- 
ment alone  which  gave  birth  to  the  men  of  to-day. 
There  had  been  a  few  worthy  pioneers  such  as  Alenza 
and  Lopez,  but  they  were  unable  to  rescue  art  from 
the  course  whence  it  had  aimlessly  meandered  after 
the  death  of  Goya.  The  debased  Davidism  of  Jose 
de  Madrazo,  the  facile,  sparkling  bric-a-brac  of  For- 
tuny,  and  the  theatric  naturalism  of  Pradilla  and 
Casado  del  Alisal  had  successively  vitiated  Penin- 
sular taste  almost  beyond  redemption,  and  nothing 
less  racial  or  less  replete  with  reality  than  the  can- 
vases of  Sorolla,  Zuloaga,  Bilbao,  and  Anglada 
could  possibly  have  revived  the  esthetic  prestige  of 
the  country  as  a  whole.  They  are  patriots  as  well  as 
painters,  these  aggressive  innovators.    They  are  chil- 


clren  of  '*La  Gloriosa,"  each  of  them,  and  their  art 
throbs  with  native  warmth  and  intensity.  They 
labor  for  the  most  part  out  of  doors  in  the  sim,  not  in 
the  gloomy  corridors  and  great,  dim  chambers  of 
palace  or  monastery.  Within  the  past  decade  they 
have  utterly  broken  with  influences  Gallic  and 
Italian.  Names  which  a  few  years  back  loomed  large 
—  Palmaroli,  Rico,  Zamacois,  Villegas,  Benlliure, 
Jimenez,  Sanchez-Perrier — and  all  the  pretty  apos- 
tles of  Fortunyism  have  been  rapidly  fading  before 
the  dazzling  solar  effulgence  of  Sorolla  and  the  mas- 
terly impersonations  of  Zuloaga.  Inspiration  with 
them  has  been  found  at  home,  not  abroad.  Even  the 
student  no  longer  deems  it  essential  to  go  to  Rome  or 
Paris.  Madrid,  Barcelona,  Valencia,  and  Seville 
offer  more  consistent  and  congenial  opportunities  for 
development.  And,  at  the  root  of  all,  a  splendid 
nationalism  has  at  last  replaced  an  internationalism 
whose  fruits  are  ever  scarce  and  ever  bitter-sweet. 

In  1870,  the  year  Fortuny's  "La  Vicaria,"  that 
consummate  triumph  of  rococo  artificiality,  was  first 
exhibited  before  the  delighted  Parisians,  there  was 
born,  on  July  26th,  in  a  vast,  rambling  sixteenth- 
century  house  at  Eibar,  in  the  Basque  province  of 
Guipuzcoa,  the  foremost  of  this  redoubtable  band  of 
Spanish  nationalists.     While  it  need  not,  for  num- 

1:263 


Le  chanteur  montmartrois,  "BuflFalo' 


Paulette  en  costume  de  ville 


■^  OF  THE 


erous  subtle  reasons,  be  claimed  that  Ignacio  Zuloaga 
is  the  greatest  living  Spanish  painter,  there  is  little 
question  that  he  is  the  most  able  and  convincing 
champion  of  the  older  traditions  of  Spanish  pictorial 
art.  Others  may  have  wandered  farther  in  quest  of 
more  modern  technical  methods;  Zuloaga  has  re- 
mained steadfastly  rooted  to  the  soil  of  his  native 
land  and  to  the  austere,  haughty,  and  defiantly  dra- 
matic spirit  of  her  esthetic  expression.  It  is  no  mere 
accident  that  this  young  man  should  turn  toward  the 
sovereign  masters  of  the  past  for  inspiration  and 
counsel.  It  is  not  by  mere  chance,  but  owing  to  the 
immutable  laws  of  social  evolution,  that  he  to-day 
continues  almost  unbroken  that  fundamental  artistic 
legacy  which  has  produced  such  men  as  El  Greco, 
Velazquez,  and  Goya.  Ignacio  Zuloaga  comes  of  an 
energetic,  creative  family,  the  direct  descendants  of 
that  ancient  Celtiberian  stock  which  early  settled  on 
the  southern  slopes  of  the  Pyrenees  and  has  never 
migrated  and  never  been  dislodged.  After  losing 
their  cherished  fueros  the  Basques  turned  with  superb 
self-reliance  to  industrial  problems,  and  it  was  in  this 
atmosphere  of  sturdy  and  independent  initiative  that 
Ignacio  grew  to  manhood.  For  generations  the 
Zuloagas  have  been  craftsmen  of  the  highest  type. 
They  constitute  what  may  be  called  a  species  of  in- 

1:30 


dustrial  dynasty.  The  boy's  great-grandfather,  Bias, 
was  armorer  to  the  Life  Guards,  his  grandfather, 
Eusebio,  a  famous  chiseler,  armorer,  and  decorator  of 
his  day,  was  the  veritable  organizer  of  the  Armeria 
Real  of  Madrid,  and  his  father,  Placido,  became  the 
foremost  artist  of  Europe  along  the  same  lines. 
Placido  Zuloaga,  who  was  a  pupil  of  his  father  and 
also  of  Lienard,  was  virtually  the  rediscoverer  of  the 
art  of  damascene,  and  his  handiwork  to-day  adorns 
most  of  the  museums  and  royal  palaces  of  Europe. 
He  was  a  friend  of  Carpeaux  and  Barye.  He  studied 
for  long  periods  in  Paris  and  Dresden,- and  developed 
consummate  skill  in  all  manner  of  ornamentation  in 
bas-relief,  chiseling,  and  incrusting  gold  and  silver  on 
iron  or  steel,  besides  sketching  and  modeling  with 
supreme  facility.  Placido's  brother  Daniel  is  head 
of  the  now  flourishing  pottery  revival  at  Segovia, 
and  other  brothers  have  devoted  themselves  to  brush 
and  canvas. 

With  such  family  proclivities  it  was  inevitable  that 
Ignacio  should  have  taken  to  artistic  expression  in 
some  form  or  another,  accustomed,  as  he  was  from 
childhood,  to  vigorous,  conscious,  and  skilfully 
directed  creative  effort,  tempered  always  by  the 
zealous  conservatism  of  the  past.  Yet,  despite  his 
acknowledged  position  in  the  world  of  art,  Placido 


Les  sorcieres  de  San  Millan 


:^^0>m 


.".^ 


10 


Femmes  au  balcon     (I) 


r  OF   THt 

(university 

\  Of 


Zuloaga  was  not  a  rich  man,  and,  with  the  sound 
practical  instinct  of  his  people,  desired  that  the  boy 
should  embrace  some  more  lucrative  calling.  This 
polished,  magnetic,  and  self-willed  parent,  who  was  a 
typical  modern  Cellini,  first  decided  that  his  son  mus't 
prepare  for  a  business  career,  then  that  he  should 
study  engineering,  and  ultimately  compromised  in 
favor  of  architecture.  Against  each  of  these  proposi- 
tions the  youthful  Ignacio,  who  also  had  opinions  of 
his  own,  stoutly  rebelled,  with  the  result  that  he  was 
somewhat  summarily  placed  in  the  workshop  to  learn, 
as  a  long  line  of  ancestors  before  him  had  done,  the 
intricate  secrets  of  ornamental  metal-w^ork.  It  was 
during  this  period  that  his  native  town  was  rapidly 
winning  her  title  as  the  Toledo  of  the  north,  and  on 
all  sides  could  be  heard  the  hum  of  fly-wheel  and  the 
sound  of  the  forge.  With  the  persistence  and  ten- 
acity of  his  race  Ignacio  labored  manfully  along  until 
able  to  support  himself  by  the  deft  labor  of  eye  and 
hand.  His  life  was  substantially  that  of  a  common 
apprentice.  There  was  little  time  for  pelota  or  other 
favorite  pastimes,  and,  though  he  attended  an  occa- 
sional bull-fight  and  enjoyed  watching  the  lithe  dig- 
nity of  the  workmen  or  villagers  as  they  paused  by 
the  wayside  for  a  friendly  chat,  he  did  not  think,  in 
any  specific  way,  of  placing  on  record  that  varied 

C373 


existence  which  teemed  about  him  in  such  subtle  and 
colorful  variety.  He  was  quietly  laying  the  founda- 
tions of  future  achievement,  but  art,  as  such,  lingered 
dormant  within  his  brooding  consciousness. 

There  is  a  distinct  possibility  that  Ignacio  Zuloaga 
might  have  remained  at  Eibar  and  eventually  have 
succeeded  to  the  paternal  position  had  it  not  been  for 
a  chance  visit  to  Madrid,  where  he  saw  for  the  first 
time  the  incomparable  masterpieces  of  the  Prado. 
That  which  had  so  long  been  asleep  suddenly  awoke, 
and  the  lad  at  once  felt  impelled  to  become  a  painter. 
Without  in  the  least  favoring  the  youth's  ambitions 
his  father  none  the  less  bought  him  the  requisite  mate- 
rials, and  day  after  day  the  embryo  artist  haunted  the 
galleries,  finally,  without  previous  instruction,  pro- 
ducing a  surprisingly  reverent  and  efficient  copy  of 
one  of  El  Greco's  aristocratic,  black-robed  noblemen. 
Instinctively  he  had  gone  straight  to  the  sovereign 
treasure-house  of  Spanish  painting,  stepping  at  once 
into  that  splendid  patrimony  which  had  for  years 
been  neglected.  From  the  very  outset  he  identified 
himself  with  all  that  was  most  enduring  and  signifi- 
cant in  the  art  of  his  country,  nor  did  any  subsequent 
change  of  scene  cause  him  to  forsake  his  destined 
field.  Yet  notwithstanding  this  early  proof  of  ability, 
neither  Placido  Zuloaga  nor  his  wife  had  any  desire 

n383 


II 


Vendangeurs  revenant  le  soir 


12 


Vieilles  maisons  a  Haro 


to  see  their  son  launched  upon  an  artistic  career.  His 
efforts  were  ridiculed  and  his  ambitions  frowned 
upon.  Still,  he  persisted  in  his  resolve,  and  was  at 
last  reluctantly  permitted  to  depart  for  Rome.  He 
was  but  eighteen  at  the  time,  and  from  thenceforth 
determined  to  live  upon  his  own  slender  resources, 
which  were  now  and  then  fortunately  augmented  by 
the  little  help  a  fond  mother  could  surreptitiously  send 
him.  His  going  to  Rome  in  the  footsteps  of  Fortuny, 
Pradilla,  Villegas,  and  other  Spanish  painters  proved, 
however,  like  Sorolla's  experience  of  a  few  years  be- 
fore, a  distinct  artistic  misfit,  for  there  was  little  this 
restless  montanes  could  accomplish  under  the  over- 
powering shadow  of  Raphael  and  Michelangelo. 
After  floundering  hopelessly  about  for  a  few  months 
and  suffering  at  least  from  academic  malaria,  he 
wisely  turned  his  face  toward  Paris.  For  reasons 
less  picturesque  than  economic  he  first  settled  on  the 
heights  of  Montmartre,  taking  lodgings  in  the  rue 
Cortot,  directly  behind  the  Sacre-Coeur.  Although  he 
was  fortunate  enough  to  gain  admittance  to  the  Old 
Salon  of  1890,  Zuloaga,  during  the  early  years  of  his 
apprenticeship,  betrayed  a  not  unnatural  lack  of  con- 
viction. His  initial  attempts  were  full  of  conflicting 
ideals  and  cruel  hesitation.  He  began  painting  por- 
traits, street  scenes,  and  peasants  in  the  open  air.    He 

i:43n 


had  hoped  to  find  legitimate  inspiration  among  the 
French  painters  of  the  period,  but,  saving  for  such 
advanced  modernists  as  Gauguin  and  Toulouse- 
Lautrec,  he  could  see  little  to  admire  in  the  work  of 
those  about  him.  He  sold  nothing  and  lived  in  prac- 
tical isolation,  almost  his  only  companions  being  two 
compatriots,  a  painter,  and  the  inimitable  Paco 
d'Urio,  both  as  proud  and  as  poverty-stricken  as  him- 
self. During  these  dark,  hopeless  days  which  he 
cannot,  even  now,  recall  without  a  shudder,  he  moved 
many  times,  usually  by  request,  living  by  turns  in 
the  rue  Durantin,  and  the  rue  des  Saules,  and  also 
frequenting  the  little  Spanish  colony  on  the  lie  St. 
Louis,  of  which  Rusinol  was  a  member.  At  intervals 
he  collected  in  his  own  studio  in  the  rue  Duperre,  or 
in  one  he  could  borrow  for  the  occasion,  a  number  of 
canvases  which  he  showed  to  his  friends  and  a  stray 
dealer  or  so,  yet  invariably  without  pecuniary  results. 
Although  he  failed  to  dispose  of  a  single  picture  dur- 
ing this  bitter  and  shabby  probation,  he  succeeded, 
however,  in  making  his  appearance  at  the  Salon  du 
Champ  de  Mars,  in  1893,  with  two  subjects,  one  being 
a  portrait  of  his  grandmother,  and  the  other  that  of 
^The  Dwarf  of  Eibar,  Don  Pedro."  He  had  mean- 
while crossed  the  Channel  to  London,  where,  through 
the  kind  offices  of  Mr.  Oscar  Browning  and  other 

1:443 


13 


Toreadors  de  village 


Portrait  de  Marthe   Morineau  en  Espagnole 
14 


/  Of  THE 

OF  / 


friends  and  admirers  of  his  father,  he  managed  to 
secure  several  commissions  for  portraits,  and  with 
this  welcome  assistance  returned  to  Spain,  making 
Seville  his  headquarters. 

Meager  and  unhappy  as  it  was,  it  is  more  than 
probable  that  Zuloaga's  Parisian  exile  proved  of 
benefit,  for  as  soon  as  he  returned  to  his  native  land  his 
starved  artistic  soul  began  to  expand.  It  was  there, 
beneath  the  burning  blue  of  the  Iberian  sky,  not  amid 
that  delicate,  pearl-gray  mist  which  envelops  Paris, 
that  he  regained  confidence  in  himself.  He  must  have 
been  hungering  all  the  while  for  home,  for  he  now 
saw  afresh  the  color  and  felt  anew  the  fascination  of 
life  in  every  quarter  of  the  Andalusian  capital.  True 
son  of  Spain  that  he  was,  he  devoted  himself  to  the 
rendering  of  local  life  and  scene  in  all  their  primal 
flavor  and  accent.  A  pronounced  gift  for  individual 
characterization  already  animated  those  first  some- 
what rigid  attempts,  which  were,  even  then,  instinct 
with  assertive  force  and  histrionic  veracity.  It  was 
in  1895,  under  the  auspices  of  Le  Bare  de  Boutteville, 
that  the  fruits  of  this  Sevillian  sojourn  were  exhibited 
to  the  Parisian  public,  and  yet,  save  for  the  discrimi- 
nating admiration  of  the  American  painter  Dannat 
and  one  or  two  enlightened  amateurs,  the  event 
passed  unno^d.     The  French  press  and  public  were 


not  prepared  to  welcome  a  talent  which  was  shortly 
to  capture  all  Europe,  nor  were  the  artist's  years  of 
obscure  endeavor  yet  at  an  end.  Moreover,  the  Spain 
which  this  young  Basque  painted  with  such  subdued 
richness  and  refined,  silver-black  severity  was  not  the 
Spain  to  which  the  French,  or  indeed  the  Spaniards, 
were  accustomed.  This  Espaiia  Blanca  had  nothing 
in  common  with  the  glittering  rococo  daintiness  of 
Fortuny,  or  the  studio  commercialism  of  the  insuffer- 
able Jules  Worms.  Although  treating  everyday 
themes,  Ignacio  Zuloaga  was  also,  in  a  sense,  bridg- 
ing over  the  past.  He  was  deliberately  going  back 
to  Goya  and  even  beyond  him.  He  was  reading 
Peninsular  types  and  traits  closer  and  deeper  than 
they  had  been  read  for  nearly  a  century. 

Discouraged  by  this  continued  lack  of  recognition, 
and  despairing,  not  of  his  art,  but  of  his  ability  to 
earn  even  a  modest  living  by  the  brush,  Zuloaga  was 
for  the  time  being  forced  to  renounce  painting. 
Though  he  might  have  subsisted  upon  remittances 
from  Eibar,  or  have  returned  at  any  moment  to  that 
great  house  with  its  massive  stairway  and  spacious 
rooms,  he  was  too  proud  to  think  of  anything  in  the 
nature  of  a  compromise.  Possessing  a  passion  for 
the  past  and  all  that  appertains  to  bygone  times,  he 
struggled  along  for  awhile  as  a  dealer  in  antiques 


^:li 


ff^r 


Portrait  de  Madame  Bourdin 


15 


\ 


l6 


Portrait  of  Mr.  F. 


I 


..■■  THE 


^- 


and  appraiser  of  those  objets  d'art  in  which  Seville 
so  abounds.  Meeting  with  scant  success,  he  was  next 
compelled  to  accept  a  position  as  bookkeeper  for  a 
mining  company,  but  this,  too,  proving  an  unpropi- 
tious  expedient,  he  again  found  himself  adrift. 
There  was  literally  nothing  this  resolute  and  volun- 
tary exile  would  not,  and  did  not,  suffer  rather  than 
acknowledge  defeat,  and  finally,  like  many  another 
of  his  courageous,  clean-limbed  countrymen,  he  en- 
tered the  bull-ring  as  a  pupil  of  the  famous  Carmona. 
Yet,  despite  a  brilliant  beginning,  Zuloaga  was  not 
destined  to  duplicate  the  triumphs  of  Cuchares  or 
Lagartijillo,  for  having  unfortunately  been  gored  by 
his  eighteenth  adversary,  he  in  consequence  promised 
his  distracted  mother  never  to  reenter  the  corrida. 

It  is  necessary  to  recount  in  detail  the  picturesque 
and  stirring  episodes  of  Zuloaga's  career  for,  more 
than  with  almost  any  other  artist  of  the  day,  is  his 
work  the  product  of  just  such  varied  and  stimulating 
experiences.  Each  circumstance  in  turn  contributed 
something  to  his  development,  and  in  no  other  way 
could  he  have  attained  that  breadth  of  view  and  vigor 
of  characterization  which  are  the  essence  of  his  art. 
For  nearly  three  years  he  did  not  exhibit  anything  of 
moment,  though  in  1897  he  sent  to  the  Societe  Na- 
tionale  a  portrait  of  himself  in  hunting  costume,  a 


work  of  which  he  is  not,  at  the  present  writing,  espe- 
cially proud.  It  was  while  recuperating  in  ascetic  yet 
languorous  Segovia  after  his  brief  essay  in  tauromachy 
that  Zuloaga  returned  to  the  palette  with  renewed 
enthusiasm,  executing,  among  other  canvases,  the 
memorable  "Before  the  Bull-fight,"  or,  as  it  is  vari- 
ously known  in  Spanish,  "Vispera  de  Toros"  or  ''Antes 
de  la  Corrida,"  which  he  sent  to  the  Barcelona  Exhi- 
bition of  1898.  This  particular  picture  proved  the 
turning-point  of  his  artistic  life.  He  had  already 
shown  with  success  at  the  Catalan  capital  his 
"Amiges,"  which  had  been  purchased  for  the  Museo 
Nacional,  and,  greatly  to  his  satisfaction,  he  now 
learned  that,  owing  largely  to  the  enlightened  efforts 
of  the  Antwerp  painter  De  Vriendt,  wdio  was  a  mem- 
ber of  the  jury,  his  ''Antes  de  la  Corrida"  managed 
to  carry  off  the  gold  medal.  The  following  year  he 
was  equally  fortunate,  the  triple  portrait  of  "Daniel 
Zuloaga  and  his  Daughters"  being  the  distinctive  fea- 
ture of  the  Salon  and  later  finding  its  home  in  the 
Luxembourg  Museum,  which  has  since  become  so 
partial  to  the  younger  Spanish  school.  The  painter- 
bull-fighter's  long  and  hazardous  prologue  was  at 
last  over;  he  settled  down  to  his  life-task  in  a  mood 
of  manful  sincerity,  and  with  each  effort  revealed  in- 
creasing decision  of  choice  and  distinction  of  style. 

Csen 


17 


Portrait  of  Mrs.  F. 


OF   THE 

UNIVERSITY 

Of  /'' 

~~  ■■  II — '"-~ 


Portrait  of  Mrs.  F.,  Jr. 


i8 


OF   THt 

UNIVERSITY 

or 


Like  Fortuny,  who  caught  his  single  gleam  of  truth 
and  reality  from  the  sun-scorched  battle-fields  of 
Morocco,  it  required  a  goodly  taste  of  that  colorful, 
animated  outdoor  existence  which  his  countrymen  so 
love,  to  vivify  the  art  of  Ignacio  Zuloaga.  Nothing 
he  had  witnessed  during  that  active,  observant  period 
was  ever  lost  or  ever  went  for  naught.  The  entire 
panorama  of  popular  life  and  character  was  at  his 
finger-tips.  He  was  at  last  able  to  give  in  its  fullness 
that  intensified  impression  of  things  visible  which  has 
ever  been  the  dominant  note  of  Spanish  painting. 

With  such  encouragement  as  he  was  beginning  to 
receive  abroad,  and  also  at  Barcelona,  it  was  but 
natural,  after  having  so  long  been  held  in  abeyance, 
that  the  artist's  productive  powers  should  have  forth- 
with asserted  themselves  in  no  halting  manner.  Dur- 
ing the  next  few  years  he  painted  almost  wholly  in 
Segovia  and  Andalusia,  devoting  himself  with  fervid 
energy  to  the  depiction  of  those  solemn  or  sprightly, 
those  sullen  or  vivacious,  native  types  which  have 
since  become  the  insignia  of  his  work  the  world  over. 
Once  launched  upon  its  course  his  star  flashed  rapidly 
across  the  firmament  of  Continental  art.  Spain  alone 
hesitated  to  recognize  him,  not  the  least  of  his  early 
humiliations  being  the  refusal  of  the  local  jury  to 
accept  his  "Before  the  Bull-fight"  and  other  canvases 

ceo 


for  admission  to  the  Spanish  section  of  the  Paris 
Exposition  of  1900.  On  its  appearance  at  Barcelona 
the  picture  had  been  purchased  by  a  couple  of  whole- 
hearted admirers  and  presented  to  Senor  Santiago 
Rusifiol,  who  placed  it  in  his  museum,  Cau-Ferrat,  at 
Sitjes  in  Cataluna.  Senor  Rusifiol,  wishing  to 
oblige  the  painter,  willingly  loaned  the  canvas  for 
exhibition  purposes,  and  great  was  their  combined 
chagrin  when  the  jury  refused  it  on  the  ridiculous 
pretext  of  its  size,  at  the  same  time  brazenly  admit- 
ting numerous  larger  compositions  of  appalling 
mediocrity.  The  insult  which  he  received  at  the 
hands  of  his  countrymen  was  nevertheless  in  a 
measure  compensated  for  by  the  triumphant  reception 
of  the  rejected  pictures  at  the  Libre  Esthetique  in 
Brussels  and  the  subsequent  preemption  of  ''Before 
the  Bull-fight"  for  the  Modern  Gallery  of  the  Bel- 
gian capital.  And  so  flattering  was  the  offer  made 
for  the  picture  that  Senor  Rusifiol  generously  re- 
nounced his  prior  rights,  later  accepting  in  exchange 
the  hardly  less  interesting  ''El  Reparto  del  Vino." 

Considering  the  condition  of  Spanish  painting  at 
the  time  it  was  hardly  strange  that  his  compatriots 
should  have  failed  to  appreciate  the  art  of  Zuloaga. 
His  pronounced  anti-academic  propensities,  his  defiant 
independence  of  attitude,  and  the  fact  that  he  had 


Portrait  of  Mr.  F.  Jr. 


19 


['^  OF  THE 

J  HIVE 


Ma  cousine  Esperanza     (I) 


20 


..i.^H 


never  risked  formalizing  his  talent  by  tedious  study 
at  the  schools  were  points  which  these  rigid  gentle- 
men were  unable  to  overlook.  Barcelona,  as  has 
already  been  noted,  was  the  sole  Spanish  city  to  wel- 
come the  new-comer,  and  for  Barcelona  he  has  always 
retained  a  special  fondness,  sending,  to  the  Exposi- 
cion  Internacional  de  Bellas  Artes,  of  1907,  no  less 
than  thirty-four  subjects,  which  occupied,  in  all,  two 
entire  rooms.  There  is  an  undoubted  affinity  between 
the  intrepid  Basque  and  the  progressive  Catalan,  and 
this  at  least  partially  accounts  for  the  sympathetic 
recognition  Zuloaga  has  always  encountered  in  this 
particular  city. 

Although  Spain  as  a  whole  is  still  hostile  to  the 
painter,  he  has,  during  the  past  few  seasons,  proved 
an  immense  favorite  at  each  Salon,  besides  exhibiting 
with  continued  success  at  the  current  displays  in  Ber- 
lin, Dresden,  Frankfort,  Munich,  Vienna,  Venice,  and 
London,  where  he  invariably  divides  notice  with  the 
strongest  and  most  advanced  men  of  the  day.  He 
frequently  figures  at  the  International  Society  of 
Painters,  Sculptors,  and  Gravers,  and  also  at  the 
Societe  Nouvelle,  while  at  the  Diisseldorf  Exhibition 
of  1904  he  was  awarded  the  distinction,  accorded 
only  to  Menzel,  Rodin,  and  himself,  of  being  assigned 
a  special  room  where  eighteen  representative  canvases 

1:673 


were  placed  on  view.  Scores  of  public  and  private 
museums  throughout  Europe  possess  pictures  from 
this  fertile  brush,  and  there  are  at  the  present  moment 
few  living  artists  whose  productions  are  more  sought 
after  or  which  command  higher  figures  than  those 
of  this  painter  who  has  not  yet  reached  the  age  of 
forty,  and  who,  barely  a  dozen  years  ago,  was  unable 
to  boast  a  single  patron  or  purchaser.  A  weaker 
man  would  have  succumbed  under  a  similar  weight 
of  obloquy  and  neglect.  Zuloaga  persevered,  and  in 
the  end  conquered  for  himself  an  indisputable  posi- 
tion in  the  world  of  modern  painting. 

There  should  be  scant  difficulty  in  accounting  for 
the  vogue  of  this  art  which  is  at  once  so  individual 
and  so  traditional,  so  personal  and  yet  so  deeply  an- 
chored in  the  past.  It  was  an  ethnic  as  well  as  an 
esthetic  thrill  which  the  young  painter  gave  a  public 
long  satiated  with  studio  abstractions  and  academic 
conventions.  It  is  to  the  lasting  honor  of  Ignacio 
Zuloaga  that  he  has  dedicated  his  gifts  to  the  delinea- 
tion of  episodes  and  incidents  with  which  he  is 
familiar,  not  to  themes  for  which  he  has  little 
sympathy  and  of  which  he  possesses  no  first-hand 
knowledge.  That  quality  which  this  work  above  all  re- 
flects is  an  abundant  racial  flavor.  Always  regional, 
always  topical,  there  is  about  these  paintings  an  eth- 


Pelerin 


21 


OF   "^Ht 

UNIVERSITY 


Juge  de  village 


22 


r 


^   OF  TH 

or 


nographic  fidelity  which  is  unmistakable.  There  is 
no  ill-digested  cosmopolitanism  here;  this  art  not 
only  speaks  Spanish,  as  it  were,  but  has  mastered 
idiom  and  dialect  as  well.  Not  only  is  the  nationality 
of  these  sitters  at  once  apparent,  it  is  also  possible  to 
tell  at  a  glance  from  what  province  they  come  and  to 
what  particular  social  stratum  they  belong.  In 
Zuloaga's  canvases  can  be  studied  as  nowhere,  save 
from  the  originals  themselves,  those  deep-rooted 
racial  factors  which  have  molded  into  distinct  types 
the  seductive  Andalusian,  the  aggressive  Basque,  the 
haughty  Castilian,  or  the  languorous  and  passionate 
Segovian.  The  art  of  Zuloaga,  like  that  of  his  great 
predecessors,  is  an  art  which  is  based  upon  observa- 
tion, which  is  founded  not  upon  vague  esthetic 
formulae  but  upon  the  definite  aspect  of  the  world 
external.  Like  the  solemn,  disdainful  Velazque.T, 
Zuloaga  cares  for  little  besides  truth  and  a  compelling 
manipulative  mastery.  His  work  is  never  complicated 
by  abstract  ideas.  He  never  forsakes  the  realm 
of  actuality  or  of  highly  specialized  feeling.  And 
yet,  while  this  art  takes  its  material  direct  from  life, 
it  is  itself  by  no  means  an  abjectly  realistic  reflection 
of  life.  Contrary  to  his  more  prompt  and  explicit 
Valencian  contemporary  Sorolla,  the  painter  of  Eibar 
composes  his  pictures  with   consistent  deliberation. 

t73l 


Always  sensitive  to  the  efficacy  of  a  well-balanced 
design,  he  detests  everything  which  suggests  a  servile 
copy  of  nature.  There  is  nothing  instantaneous  in 
the  entire  gamut  of  Zuloaga's  art.  He  arranges  each 
canvas  with  an  eye  for  dramatic  climax,  using  land- 
scape and  other  accessories  merely  to  heighten  and 
enforce  the  desired  impression.  He  is  a  realist  only 
in  so  far  as  reality  coincides  with  his  conception  of 
the  task  in  hand.  In  the  treatment  of  single  figure 
or  of  larger  schemes  Zuloaga  displays  the  same  full- 
ness of  vision  and  completeness  of  suggestion.  Be- 
hind his"  expressive  silhouettes,  just  as  behind 
"Philip"  or  "Baltasar  Carlos,"  sweep  the  tawny  hills 
of  Castile  and  Aragon.  A  sense  of  receding  space  is 
always  one  of  the  special  charms  of  his  outdoor  pic- 
tures. Each  and  all  they  are  effective  in  placing  and 
adjustment,  and,  while  the  painter  makes  no  undue 
sacrifices  to  insure  his  appeal,  he  seems  to  possess,  in 
a  superlative  degree,  the  scenic  gift. 

Despite  his  independence  of  spirit,  Zuloaga  has  not 
escaped,  nor  does  he  wish  to  escape,  the  broader  con- 
ventions of  Peninsular  painting  in  general.  He  is 
always  seeking,  and  finding,  more  or  less  marked 
similarities  between  present  existence  and  the  noble 
and  salient  characteristics  of  the  past.  He  asked  the 
immortal  "Consuelo"  of  the  Bremen  Museum  to  pose 

1:743 


Candida  serieuse 


23 


Mendiant  espagnol 


24 


for  him  because  he  saw  in  her  "a  certain  Goyesque 
air,"  and,  frankly,  the  faces  one  meets  in  these  huge, 
affirmative  pictures  are  the  faces  known  to  Spanish 
art  as  well  as  to  Spanish  society  for  centuries.  Un- 
broken and  scarcely  unchanged  throughout  the  ages 
have  come  down  to  us  profiles  that  are  Csesarean,  a 
dusky  beauty  that  is  Saracenic,  and  the  erect  carriage 
of  cavaliers  whose  insolent  grace  was  the  marvel  of 
many  a  European  battle-field.  If  Zuloaga's  men  and 
women  suggest  those  of  El  Greco,  Velazquez,  or  Goya 
it  is  because  he  is  depicting  their  actual  descendants, 
not  merely  imitating  the  modes  of  former  days.  The 
grave  grandees  of  each  pintor  de  camara  still  walk 
the  streets  of  Madrid  mufBed  in  their  dark  cloaks,  the 
pallid  esthetics  of  Zurbaran  still  live  among  the  Anda- 
lusian  sierras,  and  the  same  dwarfs  and  beggars  that 
look  at  you  from  the  walls  of  the  Prado  also  shufHe 
by  in  tattered  swarms,  or  sun  themselves  beside  a 
church  door.  It  is  this  racy  and  picturesque  life 
which  Zuloaga  seeks  above  all  else  to  place  on  record, 
and  it  is  these  popular  types  unspoiled  by  ruthless 
modernism  which  he  pursues  into  the  farthest  corners 
of  his  native  land.  In  this  zealous  quest  of  congenial 
models  he  hesitates  at  nothing.  He  will  haunt  for 
hours  a  fiesta  on  the  outskirts  of  some  provincial 
town,   or   hasten   away   to   the   mountains,   passing 

1792 


months  at  a  time  with  smugglers  and  muleteers,  with 
the  superstitious  fanatics  of  Anso  in  the  extreme 
north  of  Aragon  or  with  the  monkish  cutthroats  of 
Las  Baluecas,  a  little  village  on  the  southern  boundary 
line  of  Salamanca.  His  experiences  have  been  innu- 
merable, and  he  does  not  fail  to  recount  them  with  a 
fund  of  descriptive  detail.  His  hostess  during  some 
forty  days  spent  at  Anso  was  none  other  than  a  pro- 
fessional sorceress,  and  in  the  course  of  such  pilgrim- 
ages he  has  often  been  forced  to  subsist  upon  roots 
like  the  poorest  native,  and  has  at  times  encountered 
irredeemable  ignorance  and  suspicion.  A  few  years 
since  he  was  actually  accused  of  being  a  counterfeiter, 
and  not  long  afterward,  while  alone  in  his  automobile, 
was  mistaken  for  the  devil  and  knocked  insensible  by 
a  vicious  and  well-directed  hail  of  missiles.  It  is 
unknown,  almost  inaccessible  Spain  that  he  loves  be- 
yond all,  and  the  most  savage  and  solitary  spots  in 
the  kingdom  are  as  familiar  to  him  as  the  Rambla  or 
the  Calle  de  las  Sierpes. 

It  is  by  such  means  and  such  means  only  that 
Ignacio  Zuloaga  could  have  selected  that  rich  and 
varied  assortment  of  models  which  give  his  art  its 
singular  and  often  sinister  distinction.  All  Spain  lies 
open  to  him,  but  from  all  Spain  he  chooses  only  that 
which  is  congenial  to  his  temperament.     A  street 

C^2 


Le  vieux  marcheur 


25 


•  ERSITY 

OF 


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^^^^^^^^E  nTTgM^ 

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£t:-:JB 

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ll^9 

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B 

?6 


A  St.-Cloud 


scene,  a  group  of  manolas  leaning  from  the  balcony, 
or  a  glimpse  of  the  crowded  corrida  are  sufficient  to 
furnish  him  with  the  requisite  graphic  essentials  for 
compositions  into  which  he  pours  all  the  magical  pic- 
torial genius,  actual  and  inherited,  at  his  command. 
Considering  the  fact  that  he  had  himself  been  a  mata- 
dor, his  early  canvases  naturally  depicted  bull-fights 
and  bull-fighters,  '^Before  the  Bull-fight,"  'The  Bull- 
fight in  my  Village,"  and  the  fluent  and  elegant 
"Promenade  after  the  Bull-fight,"  which  figured  so 
notably  at  the  Salon  of  1901,  forming  an  unparalleled 
trinity  of  its  kind.  During  those  first  expansive  years 
when  he  was  winning  his  initial  laurels  in  Paris,  Bar- 
celona, Brussels,  and  Berlin  his  vivacity  and  industry 
were  little  short  of  phenomenal.  He  passed  with 
zest  from  one  theme  to  another.  The  success  of 
"Daniel  Zuloaga  and  his  Daughters,"  with  its  dark- 
clad  figures  standing  sharply  against  the  blue  Sego- 
vian  sky  and  wide-horizoned  plain,  was  quickly 
followed  by  canvases  which  for  versatile  beauty  of 
coloration  and  flexible,  authoritative  handling  he  has 
scarcely  surpassed.  In  the  old,  lean  days  when  he 
exhibited  in  the  rue  Lepeletier,  it  was  "White  Spain" 
which  he  painted.  As  his  eye  became  more  eager  and 
his  palette  more  opulent  he  added  tone  after  tone. 
He  attempted  none  of  the  clear,  prismatic  triumphs  of 


his  colleagues ;  he  rather  grew  enamoured  of  deep  reds, 
raisin  browns,  olive  greens,  orange  yellows,  and  the 
swarthy  hue  of  countenances  long  exposed  to  sun  and 
wind.  It  was  a  defiant,  self-sufficient  art  which  this 
young  Basque  sent  out  into  the  world.  Something  in 
the  nature  of  a  subtle  contempt  for  less  lavishly  en- 
dowed talents  seems  always  to  cling  about  these 
canvases  which,  one  and  all,  vibrate  with  the  rhythmic 
intensity  of  the  Peninsular  temperament. 

Although  he  painted  with  ready  distinction  family 
groups  and  society,  as  it  were,  on  dress  parade,  Zu- 
loaga  also  descended  into  that  dark  and  semi-savage 
underworld  of  love,  passion,  and  hatred  which  for- 
ever seethes  about  the  roots  of  the  Spanish  tree  of  life. 
He  knows  intimately  the  majos  and  giianas  of  the 
Sevillian  Triana,  and  naturally  they,  too,  figure  in 
his  work  with  their  mouths  red  as  open  wounds,  their 
glistening,  carnivorous  teeth,  their  avid  glances,  and 
insinuating  gait.  Here  also  has  Zuloaga  extended 
the  scope  of  his  art  and  added  not  a  little  to  the 
treasury  of  human  emotion.  It  is  true  that  he  had  a 
predecessor  even  here  in  the  tense  and  mercurial 
Goya,  but  Zuloaga's  feeling  for  color  is  far  more 
symphonic  than  that  of  the  elder  man,  though  they 
both  share,  in  treating  such  themes,  a  similar  acerbity 

[863 


Castillo  de  Ttiregano 


27 


and  nervous  alertness  of  touch.  As  he  grows  more 
and  more  famihar  with  these  creatures  his  accent  be- 
comes more  pronounced.  The  infectious  and  some- 
what ingenuous  coquetry  of  ''Lola  la  Gitana,"  now 
in  the  Marcel  collection  in  Paris,  blends  into  a  more 
insistent  artifice  with  "Pastorita,"  belonging  to  Herr 
Koch  of  Frankfort,  while  the  sprightly  anticipation 
of  "Preparing  for  the  Bull-fight"  acquires  quite  an- 
other significance  in  the  famous  "Coqueteria  de 
Gitana,"  owned  by  Herr  Rothermundt  of  Dresden. 
The  action,  too,  acquires  more  rapidity,  the  expectant 
charm  of  "Consuelo's"  pose  becoming  alive  with 
frenetic  fire  in  "The  Spanish  Dances."  While  we 
have,  in  "Tentacion,"  a  manifest  tribute  to  Goya,  this 
particular  phase  of  Zuloaga's  art  stands  wxll  upon  its 
own  feet,  achieving  its  mature  apotheosis  in  such  can- 
vases as  "A  Street  Scene"  and  the  "Calle  de  Amor." 
Just  as  in  the  "Promenade  after  the  Bull-fight"  he 
attained  the  fullness  of  his  expression  in  treating  such 
subjects,  so  in  the  "Calle  de  Amor"  he  again  demon- 
strates his  ability  to  compose  a  large  canvas  in  quite 
another  manner  and  with  types  wholly  different.  He 
has  frankly  no  equal  in  depicting  these  wilful,  unre- 
deemed creatures  whose  badges  are  a  thick  coating  of 
rice  powder  and  a  saffron-hued  mantilla,  and  who 


ever  lie  in  wait  for  the  weak  or  the  unwary,  yet  who 
never  found  their  true  interpreter  until  Zuloaga  ren- 
dered them  in  all  their  flaunting,  instinctive  character. 

As  his  art  attained  increasing  finality  his  types 
naturally  became  more  highly  individualized.  The 
broad,  scenic  quality  of  the  ''Promenade  after  the 
Bull-fight"  and  the  somewhat  studied  grouping  of 
the  "Calle  de  Amor"  found  their  antitheses  in  numer- 
ous w^orks  dedicated  to  single  figures  only,  among 
them  being  such  obviously  masculine  creations  as  the 
picador,  the  matador,  and  the  torero.  For  blunt, 
ruthless  power  of  characterization  the  scarred,  leath- 
ery countenance  of  "El  Coriano"  occupies  a  place 
quite  by  itself  in  this  gallery  of  corrida  heroes,  nor 
has  the  painter  since  excelled  the  stolid,  standing 
likeness  of  ''El  Buiiolero,"  about  whom  clings  the 
mingled  dust  and  blood  of  countless  bull-ring  com- 
bats. This  latter  picture,  of  which  Herr  Sparkuhle 
of  Bremen  is  the  fortunate  possessor,  has  been  re- 
cently supplemented  by  the  "Vaquero,"  also  a  full 
length  and  a  further  demonstration  of  Zuloaga's  sym- 
pathy with  kindred  types. 

Yet  another  territory  has  been  conquered  by  this 
restless  though  consistent  seeker  after  local  color, 
and  it  is  the  shabby,  shifting  kingdom  of  laconic 
dwarfs,  ragged  mendicants,  bronzed  water-carriers, 

[go:] 


28 


Sepulveda 


CALiFOPiS^ 


and  itinerant  venders  of  every  description  who  form 
such  an  integral  portion  of  Spanish  outdoor  Hfe. 
Needless  to  add,  he  is  as  much  at  home  in  the  province 
of  the  picaresque  as  anywhere  else,  for  it  is  a  world 
which  has  been  peculiarly  dear  to  Iberian  author  and 
artist  since  the  author  of  Lazarillo  and  Murillo. 
For  anything  comparable  to  the  early  portrait 
of  'The  Dwarf  of  Eibar,  Don  Pedro,"  to  'Tos 
Bebedores"  of  the  National  Gallery  of  Berlin,  or  to 
the  sun-tanned  and  doubtless  salacious  interlocutor  in 
"A  Smart  Retort,"  it  is,  however,  necessary  to  go 
straight  to  Velazquez.  It  is  the  painter  of  ''The 
Topers"  of  the  Prado  and  kindred  compositions,  not 
the  softly  affable  Murillo  who  could,  when  he  wished, 
reveal  a  like  fund  of  sardonic  strength  and  stark 
brutality  of  statement.  It  has  been  Zuloaga's  good 
fortune  to  have  followed  certain  of  these  hereditary 
types  still  farther  afield,  and  in  doing  so  he  has  broad- 
ened as  well  as  intensified  the  range  of  his  art.  Even 
beside  such  convincingly  realized  impersonations  as 
"El  Coriano"  and  "El  Bunolero"  take  just  place  a 
number  of  single  figure  studies,  which  include  "The 
Image  Seller,"  "The  Honey  Vender,"  "The  Pilgrim," 
"The  Watchman  of  Segovia,"  with  his  staff  and  lan- 
tern, and  a  much  older  picture  entitled  "The  Poet, 
Don  Miguel,"  which  has  found  its  home  in  Vienna. 

.     1:933 


They  are  all  trenchant  and  full  of  surety  of  stroke. 
Old  Spain  rises  vividly  before  you  in  gazing  at  these 
canvases.  They  form  a  priceless  series  of  docu- 
ments for  the  future  historian,  and,  to  the  simple 
lover  of  art,  they  carry  their  own  incomparable 
graphic  message. 

For  a  long  time,  as  may  readily  be  imagined, 
Zuloaga  maintained  no  regular  studio,  preferring  to 
carry  about  him  over  the  rugged  face  of  Spain 
brushes,  colors,  and  canvas,  thus  being  free  to  select 
whatever  happened  to  fit  his  mood  or  his  feeling  for 
the  picturesque.  He  would  hastily  install  an  assort- 
ment of  local  models  in  a  room  in  his  hotel,  in  sunlit 
patio,  or  on  sloping  sierra-side  open  to  the  sky  and 
the  four  winds  of  heaven.  Of  late,  however,  he  has 
divided  his  time  between  Paris  and  his  native  land, 
and,  fond  as  he  is  of  his  home  at  Eibar,  he  frankly 
admits  that  he  finds  the  atmosphere  of  Segovia  more 
to  his  esthetic  liking.  *T  can  feel  something  tugging 
af  my  soul  every  time  I  leave  Eibar,"  he  says,  yet  it 
is  in  the  matchless,  Middle- Age  town  of  Segovia 
that  he  elects  at  present  to  paint.  He  there  boasts 
two  studios,  the  first  vast,  imposing,  and  gloomy, 
consisting  of  nothing  less  than  the  nave  of  the  an- 
cient church  of  San  Juan  de  los  Caballeros,  an  old 
Roman  structure  abandoned  since  the  days  of  Philip 

1:94:      . 


^ 


Ill,  the  other  being  the  Canon jia,  a  lordly  resi- 
dence with  great  thick  walls  and  windows  overlook- 
ing the  wide,  sweeping  plain  of  Castile  dotted  with 
convents  and  cut  by  the  sinuous  windings  of  the 
Eresma.  He  remains  in  the  church  until  the  Novem- 
ber frosts  drive  him  forth,  whereupon  he  repairs  to 
his  atelier  in  the  Canon  jia,  and  there  in  seclusion 
works  upon  canvases  which  more  and  more  reflect 
the  imperishable  qualities  of  an  art  whose  prestige 
he  seems  destined  to  uphold.  His  temperament  is 
yearly  becoming  at  once  more  creative  and  more  re- 
flective, and  while  other  men  may  champion  the 
extremes  of  modernity,  he  confidently  harks  backward 
to  the  triumphs  of  bygone  days.  Yet  he  is  still  an 
insatiate  wanderer.  Every  summer  he  spends  several 
weeks  touring  through  Spain  in  his  motor,  often 
accompanied  by  his  stanch  friend  and  admirer, 
Auguste  Rodin,  who  is  ever  enthusiastic  over  the 
plastic  grace  and  sculpturesque  mien  of  even  the  sor- 
riest wayfarer  who,  as  a  rule,  comports  himself  like 
a  soldier  of  Spinola  oi"^  indeed,  some  far-off  Arab 
tribesman. 

Next  to  painting,  Zuloaga  prefers  the  eager  joys 
and  unexpected  triumphs  of  the  antiquary  and  col- 
lector, the  large  pecuniary  rewards  of  recent  years 
having  enabled  him  to  accumulate  a  remarkable  array 

11973 


of  Spanish  masters  numbering  somewhat  over  three 
hundred  in  all.  With  his  knowledge  of  art  both 
classic  and  contemporary  he  has  managed  to  acquire 
for  a  mere  pittance  several  of  the  foremost  existing 
examples  of  El  Greco  and  Goya,  besides  numerous 
sculptures  by  Montaiies  de  Roldan,  Alonso ,  Cano, 
and  other  artists  of  their  times.  In  order  properly 
to  house  his  purchases  he  has  built  himself  a  minia- 
ture museum  in  the  garden  adjoining  the  family 
home  at  Eibar,  and  now,  as  always,  the  source  of  his 
inspiration  remains  the  simple  dignity  of  the  ancient 
world  as  continued  in  the  shifting  pageant  of  modern 
existence.  Alike  in  its  virtues  and  its  defects,  there 
are  numerous  affinities  between  the  art  of  Zuloaga 
and  that  of  his  great  forebears  of  the  brush,  just  as 
there  are  between  the  Spain  of  yesterday  and  the 
Spain  of  to-day.  It  would  hence  be  manifestly  ab- 
surd to  expect  a  man  of  similar  birth  and  training 
to  be  other  than  he  is  or  to  paint  but  as  he  paints. 
However  positive,  even  emphatic,  it  may  seem  to  us, 
the  ardent  pictorialism  of  his  manner  is  essentially 
true  to  Peninsular  life  and  esthetic  ideals.  There 
are  touches  here  of  bitterness  and  cruelty,  of  the 
sanguinary  and  the  macabresque,  yet  those  very 
qualities  which  may  appear  unreal  or  exaggerated  to 
foreign  eyes  are  in  fact  reality  of  the  most  explicit 

1:98: 


Pepilla  la  gitane 


30 


kind.  And  herein  lies  the  strength  of  an  art  the 
graphic  verity  of  which,  though  at  times  some- 
what dehberate  and  insistent,  must  in  the  main  pass 
unchallenged.  And,  after  all,  Zuloaga  has  amply 
earned  the  right  to  depict  his  country  and  his  coun- 
trymen as  he  may  deem  fit.  He  is  a  Spaniard 
through  and  through.  He  has  for  years  read  Span- 
ish character  in  its  most  secret  and  intimate  phases, 
and  no  one  knows  better  than  he  that  behind  the 
laugh  of  cigarrera  and  the  defiant  bearing  of  torero 
lurks  a  latent  diabolism  which  has  not  yet  been  sub- 
dued. Nor  does  any  one  realize  more  clearly  that  the 
majority  of  his  own  virile,  sultry  figures  are  stenciled 
against  a  background  which  still  remains  sinister  and. 
inscrutable. 

Such  is  Ignacio  Zuloaga,  and  such  is  the  art  of 
Zuloaga.  With  the  exception  of  a  stray  canvas  or  so 
exhibited  at  the  Carnegie  Institute  in  Pittsburg,  our 
citizens  have  until  the  bringing  to  America  of  the  pic- 
tures now  exhibited  had  no  means  of  forming  an  esti- 
mate of  the  work  of  this  powerful  and  gifted  painter. 
These  forty-two  canvases  represent  the  most  recent 
and  most  significant  phase  of  Zuloaga's  art,  ''Mile. 
Lucienne  Breval  dans  Carmen"  and  "Les  Sorcieres 
de  San  Millan"  being  fresh  from  last  season's  Salon, 
and  being,  in  fact,  the  oldest  pictures  in  the  collection. 


It  is  the  same  and  yet  another  Zuloaga  who  here 
confronts  us.  In  studying  this  art,  which  is  at  once 
so  austere  and  fastidious,  and  so  full  of  native  ani- 
mal grace  and  nervous  ferocity,  it  must  be  remem- 
bered, first  of  all,  that  this  man  is  not  a  pure  and 
simple  realist.  There  is  more  ancient  Spanish  abso- 
lutism here  than  is  at  first  apparent,  and  considerably 
more  than  there  was  in  Zuloaga's  work  of  a  few 
years  since.  Like  Goya,  and  Daumier,  and  Millet, 
Zuloaga's  sense  of  form  is  primarily  creative.  While 
rejoicing  in  their  picturesqueness  and  fervid  actuality, 
he  does  not  portray  these  types  with  painstaking  fidelity. 
His  realism  is  broadly  emotional,  rather  than  minute, 
and  that  wdiich  he  gives  us  is  not  so  much  a  transcrip- 
tion as  a  translation.  He  paints  with  a  species  of 
fierce  joy,  and  the  result  possesses  a  tyrannical  seduc- 
tion from  which  it  is  impossible  to  escape.  He  in- 
tensifies, he  concentrates,  he  composes ;  and  this,  and 
this  alone,  is  the  secret  of  an  art  which  has  been  per- 
sistently mispraised  and  misunderstood.  Glorying  in 
an  ancient  and  pregnant  esthetic  basis,  and  refractory 
to  external  influences,  this  resolute  Basque  has  gone 
his  way  alone.  During  the  past  few  years  he  has 
wrapped  himself  still  tighter  in  his  native  capa  and 
is  striding  along  the  pathway  of  art  at  his  own  gait 


31 


Ma  cousine  Esperanza  (II) 


He  boasts,  it  is  true,  a  few  disciples,  but  none  is  in  the 
least  worthy  to  follow  in  his  footsteps. 

It  cannot  be  denied  that  there  are  certain  dangers 
which  inevitably  lurk  in  a  method  as  arbitrary  as 
that  of  Zuloaga.  Gathering,  as  he  does,  so  much 
from  within  and  from  the  ever-present  past,  it  has 
been  difficult  for  him  at  times  to  resist  the  temptation  to 
repeat  certain  gestures,  attitudes,  and  scenes.  These 
figures  do  not  always  vibrate  in  unison  either  esthetic 
or  vital.  There  are  touches  of  the  mechanical  here 
and  there,  and  the  hand  of  the  mannerist  is  some- 
times visible.  For  those  who  believe  above  all  in 
the  infinite  flexibility  of  external  phenomena,  there 
is  too  much  similarity,  for  example,  between  certain 
of  the  groups  of  manolas  leaning  upon  a  balcony  rail, 
just  as  there  formerly  was  between  the  seated  three- 
quarter  lengths  of  "Lola  la  Gitana"  and  "Pastorita." 
And,  while  a  certain  consistency  of  feeling  should,  of 
course,  be  maintained  throughout,  it  is  possible  that 
the  carnal  equation  has  more  than  once  been  over- 
emphasized, for  now  and  then,  as  for  instance  in 
''Lassitude"  and 'The  Old  Boulevardier,"  the  scarlet 
trail  of  the  serpent  spreads  itself  across  an  art  never, 
indeed,  far  removed  from  the  by-paths  of  sensu- 
ality. 


Zuloaga  is  in  no  sense  an  outdoor  painter.  His 
coloring  reflects  not  the  coloring  of  nature,  but  the 
seductions  of  a  richly  sonorous  palette.  He  mani- 
festly lacks  the  crisp  brilliance  of  Eliseo  Meifren  and 
the  chromatic  iridescence  of  Joaquin  Sorolla,  whose 
eye  is  ever  refreshed  by  the  sun,  the  sea,  and  the  inex- 
haustible variety  of  nature.  He  is  innately  proud, 
independent,  and  sufficient  unto  himself,  and  it  is 
just  possible  that  the  sudden  and  wide-spread  vogue 
which  he  has  enjoyed  may  have  bred  within  him  a 
certain  lack  of  vigilance,  an  element  of  that  easeful 
arrogance  and  superiority  which  has  more  than  once 
proved  disastrous  to  the  race  to  which  he  belongs. 
And,  finally,  possessing  no  such  salutary  counter- 
poise as  the  other  men  enjoy,  there  is  a  possibility 
of  his  entering  and  remaining  within  that  prison- 
house  of  passion  and  fatalism  at  the  doors  of  which 
he  now  stands. 

It  need  not  be  assumed  that  this  particular  attitude 
toward  the  later  aspects  of  Zuloaga' s  art  is  in  any 
degree  academic  or  suppositious.  In  the  Goyesque 
^'Sorceresses  of  San  Millan"  is  ample  proof  of  this 
growing  diabolic  tendency,  and  he  is,  furthermore, 
working  upon  several  themes  of  a  kindred  nature. 
He  recently  substituted  for  the  bespangled  attrac- 
tions of  the  Macrena  the  purple  vineyards  of  La 

c  106:1 


L'actrice  Pilar  Soler 


32 


Rioja,  where  he  was  engaged  in  painting  the  swarthy 
vintners  celebrating  their  local  saturnalia,  while  still 
another  departure  is  that  poignant  conception  entitled 
"The  Penitents,"  which  is  full  of  dramatic,  sanguin- 
ary exaltation.  Most  significant  of  all  are,  however, 
two  compositions  which  he  has  barely  planned.  One 
is  called  "The  Victim,"  and  shows  a  miserable  dis- 
emboweled charger  being  led  from  the  l)ull-ring  by 
an  Andalusian  picador  with  the  cruel,  indifferent 
profile  of  a  Nero,  while  just  above  him  one  catches 
sight  of  a^couple  of  manolas  in  white  mantillas,  their 
penciled  eyes  flashing,  their  painted  lips  breaking  into 
heartless  laughter.  The  other  subject,  which  is 
known  as  "The  Processional,"  discloses  a  long  file 
of  pilgrims  in  the  rugged  mountains  of  Toledo  on 
Resurrection  Day,  bearing  crosses,  banners,  and  flar- 
ing candles,  the  priests  bending  forward  under  the 
weight  of  their  vestments,  the  whole  scene  bathed  in 
livid  yellow  mist,  and  each  frenzied  face  eagerly 
aw^aiting  the  miracle  of  miracles. 

It  cannot  fail  to  be  obvious  that  art  such  as  this 
has  little  to  do  w^ith  the  accepted  conventions  of  to- 
day. It  goes  deeper  into  the  past  and  looks  further 
into  the  future  than  most  current  production,  and  it 
is  needless  to  expect  that  the  painter  who  spends  his 
time  in  the  solemn  nave  of  San  Juan  de  los  Caballeros 


or  behind  the  grim  walls  of  La  Canonjia  is  going  to 
make  any  sort  of  compromise  with  advanced  modern- 
ism. Zuloaga  frankly  admits  that  when  these  two 
latter  canvases  are  finished  they  will  merely  offer  the 
critics  of  Madrid  another  opportunity  to  attack  him, 
and  he  is  undoubtedly  accurate  in  his  prognostica- 
tions. For,  like  most  of  his  countrymen,  they  are  still 
steeped  in  Fortunyism,  are  still  attending  "The 
Spanish  Marriage"  or  dreaming  in  "The  Garden  of 
the  Poets,"  whereas  this  fearless  young  montanes 
is  reviving  as  best  he  can  an  older  and  a  braver  tradi- 
tion—a tradition  which  began  with  Ribera  and 
which,  fortunately,  did  not  end,  as  many  thought  it 
had,  with  Francisco  Goya.  In  a  sense  the  entire  evo- 
lution of  Spanish  society  is  symbolized  in  the  art  of 
Zuloaga.  He  epitomizes,  as  no  painter  of  his  time 
has,  that  pride  and  chivalry,  that  ardor  and  passion, 
and  those  dark  centuries  of  cruelty,  which  constitute 
the  birthright  of  latter-day  Spain.  (His  work  is  a 
reincarnation  of  the  past  in  terms  of  the  present,  j  He 
illustrates  better  than  almost  any  one  the  principle  of 
artistic  atavism.  He  is  profoundly  strong,  racial, 
and  national  because  he  has  the  courage  to  express 
himself,  and,  by  expressing  himself,  he  cannot  fail  to 
suggest  that  larger  heritage  of  which  he  shares  but 
a  slender  portion. 

["on 


L'acteur  Zambilli 


33 


//" 


OF  Ti 


CATALOGUE 


iF07;U\j^^ 


34 


L'attente 


'   THE 

ERSITY 

OF 


£dLlFORS^ 


NOTE 

When  arrangements  were  made  with  Seiior  Zuloaga 
for  the  exhibition  of  his  paintings  by  The  Hispanic 
Society  similar  arrangements  had  not  been  completed 
with  Senor  SoroUa.  The  pictures  arrived  simul- 
taneously in  New  York  and  in  order  that  their  ex- 
hibition to  American  art  lovers  might  not  be  delayed, 
an  arrangement  was  made  through  the  kindness  and 
courtesy  of  the  director  of  the  Buffalo  Fine  iVrts 
Academy,  and  they  were  loaned  for  exhibition  in 
Buffalo.  At  a  later  time  twelve  additional  paintings 
were  secured  from  Seiior  Zuloaga,  and  these  are  pre- 
sented now  for  the  first  time. 

The  Board  of  Trustees  of 
The  Hispanic  Society  of  America. 

New  York,  March,  1909. 


L'anachorete 


35 


CATALOGUE 


(The  artist  has  given  all  titles  in  French.) 


I     Portrait  de  la  famille  crun  toreador  gitane 

Portrait  of  the  family  of  a  Gipsy  bull-fighter 


Portrait  de  Mlle.Lucienne  Breval  dans 
Carmen 

Portrait  of  Mile.  Lucienne  Breval  in  Carmen 
Lucienne  Breval  is  the  pseudonym  of  Lucienne  Breun- 
wald,  a  lyric  artist  of  Swiss  birth  resident  in  Paris, 
who  was  educated  at  the  Conservatoire  and  whose 
principal  roles  are  La  Walkyrie,  L'fitranger,  Sa- 
lamnibo,  Armide,  Iphigenie  and  Ariane. 


Paillette  en  danseuse 

Paulette  as  danseuse 


C'^o 


4     Pepillo,  le  matador 

Pepillo,  the  bull-fighter 

The  matador  is  specifically  the  bull-fighter  who  gives 

the  bull  the  final  thrust.    Pepillo,  'Joe.' 


5     Candida  riant 

Candida  laughing 


6     Mercedes 

Mercedes 


7     ''Buffalo,"  le  chanteur  montmartrois 

"Buffalo,"  the  singer  of  Montmartre 


8     Paulette  en  costume  de  ville 

Paulette  in  walking  costume 


(J     Les  sorcieres  de  San  Millan 

The  sorceresses  de  San  Millan 


lo     Femmes  au  balcon  (I) 

Women  in  a  balcony  (I) 


36 


Femmes  au  balcon  (II) 


OF  THE 

MVERSITY 

OF 


1 1     Vendangeiirs  revenant  le  soir 

Vintagers  returning  in  the  evening 


12     Vieilles  maisons  a  Haro 

Old  houses  at  Haro 

Haro  is  thirty  and  a  half  miles  northwest  of 
Logrono.  It  is  one  of  the  chief  places  in  the  wine- 
growing district  of  the  Rioja  and  has  7,900  inhab- 
itants. 


13     Toreadors  de  village 

Village  bull-fighters 


14     Portrait  de  Marthe  Morineau  en  Espagnole 

Portrait  of  Martha  Morineau  in  the  costume  of  a 
Spanish  woman 


15     I^ortrait  de  Madame  Boiirdin 

Portrait  of  Madame  Bourdin 


1 6  Portrait  de  Mr.  F. 

17  Portrait  de  Mrs.  F. 

18  Portrait  de  Mrs.  F.,  Jr. 

19  Portrait  de  Mr.  R,  Jr. 


20     Ma  cousine  Esperanza  (I) 

My  cousin  Esperanza  (I) 


21     Pelerin 

Pilgrim 


22     Juge  de  village 
Village  judge 


23     Candida  scriense 

Candida,  serious 


D^en 


Le  nain  Gregorio 


37 


Of    -^Hr 

UNIVERSITY^ 

Of        . 
^ALIFOR^ 


24     Mendiant  espagnol 
Spanish  beggar 


25     Le  vieux  marcheur 
The  old  'Boulevardier' 


26    A  St.  Cloud 
At  St.  Cloud 


2y     Chateau  de  Turegano 

Castle  of  Turegano 

Turegano  is  a  historic  town  of  the  province  of  Sego- 
via, on  the  highroad  from  Segovia  to  Riaza.  It  now 
numbers  1544  inhabitants. 


28     Sepulveda 

Sepulveda,  a  very  ancient  town  of  2371  inhabitants, 
northeast  of  Segovia. 


29     La  Virgen  de  la  Pefia 


30     Pepilla  la  gitane 

Pepilla  the  Gipsy 


31     Ma  cousine  Esperanza  (II) 

My  cousin  Esperanza  (II) 


32     L'actrice  Pilar  Soler 

The  actress  Pilar  Soler 


33     L'acteur  Zambilli 

The  actor  Zambilli 


34     Uattente 

Expectation 


35     L'anachorete 

The  hermit 


cison 


Ma  cousine  Candida 


36     Femmes  au  balcon  (II) 

Women  in  a  balcony  (II) 


2)j     Le  nain  Gregorio 

The  dwarf  Gregorio 


38     Ma  cousine  Candida 
My  cousin  Candida 


1:1333 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 


AN     INITIAL     FINE     OF    25    CENTS 

WILL  BE  ASSESSED  FOR  FAILURE  TO  RETURN 
THIS  BOOK  ON  THE  DATE  DUE.  THE  PENALTY 
WILL  INCREASE  TO  50  CENTS  ON  THE  FOURTH 
DAY  AND  TO  $1.00  ON  THE  SEVENTH  DAY 
OVERDUE. 


APR  12  193 


APR     2  1935; 


OCT  261940 

FEB  11  mi  M 

„'.lun'58GC 

AUG  1 1  1968 

Rf<:^LD 

MAR  1     1959 


2riov'63S.... 
V63-S 


to 


LD  21-50m-l.'33 


Binder 
'.      Gaylord  Bros-  Inc. 

!        Stockton,  Calif. 

,    T.M.ReQ-U. S.Pat.  Off. 


V^     »      J 


O  1 


THE  UNIVERSITY  OF  CALIFORNIA  UBRARY 


M 


ilh 


>,i-  f^'kJ-ti 


